For this exhibition, I will transform a two room junior suite of the Hotel del Sol with an installation of my Cyanotype paintings from floor to ceiling. Why exhibit in a hotel rather than a more conventional art fair? This venue is an ideal location for me to explore the confrontations of art with space and perception, in 360 degrees. Though I was born in the Bay Area (Vallejo), this is my first time exhibiting in the region.
If you're in the Bay Area or at the Art MRKT San Francisco nearby from 29th April-1st May, hope to see you there.
My first solo exhibition in Beijing opens this Sunday, 27th September. It's a book and photo installation inspired by living in the unique conditions of China today. Conditions which have me looking at censorship in other places, particularly my home country, where 'freedom of information' has never really been free.
Opening is this Sunday at Meridian Space, a gallery/performance venue behind Beijing's National Museum.
Windows are barriers, lattices, screens. They keep out enemies, the hot and cold, and they shut us in.
These Cyanotype murals are views of rooms in China where pivotal people stayed, slept, and worked to change the country's future. The window paintings are all diptychs: they portray the perspectives of those inside them, and those of us peering in from outside.
In Mandarin, the polite way to say '[western] foreigner' is "outside country person", which hints at the historic insulation of the country. Foreign perspectives of China – those from outside - are inherently incomplete. These dual views of the same window show how different the opposing sides appear of what is inherently the same structure.
Painting in progress: Office Window of the Great Dictator, from the Outside
Cyanotype chemicals are pale green when first painted, then darken as they dry, and turn blue in the sunlight.
Finished prints, Office Window of the Great Dictator
Visible are silhouettes of his calligraphy, which was surprisingly refined.
In Beijing, we have reliable sunlight only half the year. To make my blueprints, I need strong sunlight and no rain. In spring, the pressure is on to create work which I've designed over the winter.
Below: a video of Cyanotype printing on the rooftop of my studio, illustrating the process from fresh painting (the photochemicals are green) to quickly layering negatives before they are exposed to the sun and turn blue.
Clips from a long-term project across China, searching for paper for my artwork: fromSilk Road papers from Xinjiang to tea papers in the Southwest to the famous Xuan paper used by artists and scholars for centuries.